The Holy Apostle Bartholomew Durer Engravings (1471-1528)

Here we observe a full-length depiction of a male figure, rendered in meticulous detail through etching techniques. The subject stands within a landscape setting dominated by a large tree trunk that occupies the left portion of the composition and serves as a backdrop. He is positioned in profile facing right, though his gaze is directed towards the viewer.
The man’s age is suggested by his deeply lined face, a full beard, and receding hairline. His expression appears solemn, perhaps even weary. The artist has emphasized the texture of his hair and beard through dense cross-hatching, creating a sense of volume and realism. He wears a long, flowing robe that drapes around him, its folds carefully rendered to suggest weight and movement. A smaller cloth is tucked into his belt.
The most striking element of the image is the large knife held prominently in his right hand. The blade gleams with an unsettling sharpness, drawing immediate attention. It’s positioned at a slight angle, as if he is presenting it. This object immediately introduces a layer of symbolic complexity to the work.
The landscape setting contributes to the overall mood. The ground beneath his feet is uneven and rocky, adding a sense of hardship or struggle. The tree trunk, while providing support, also seems to loom over him, potentially symbolizing burdens or obstacles.
Subtexts within this drawing revolve around themes of suffering, sacrifice, and perhaps martyrdom. The knife serves as a direct reference to the manner in which the subject met his end – flayed alive. While not explicitly depicted, the implication is powerful and unsettling. The figure’s posture and expression convey a sense of resignation or acceptance, suggesting an understanding of his fate.
The artists meticulous attention to detail – the rendering of fabric, hair, and the sharp edge of the knife – elevates the work beyond a simple portrait. It becomes a meditation on faith, endurance, and the cost of belief. The inclusion of the date 1523 in the lower left corner provides context within the artist’s oeuvre and places the work firmly within the early 16th century.